Musicals Books

As a big fan of DOA since the late seventies, I was really looking forward to reading this book. Joe gives you a great amount of background about one of the hardest working bands ever.
If you love punk music and the DIY attitude, this book is must read.

Anyone, and I do mean ANYONE, who is interested in the west coast punk scene needs to read this book. Keithley gives a fantastic first hand account of how he formed his band and all of the tests they endured going from relative nobodies to one of the biggest and best known punk bands in North America.

The book is also a mini how-to manual for anyone interested in starting up their own punk band. Keithley talks about the business side of the music industry, what it's like to play gigs to crowds of different sizes and interests, and above all, he gives a great first hand account of just what it takes to make it in the music business.

Finally, Keithley's writing style is very easy to digest. The book is written like the lyrics to many of his songs; straight ahead without and BS! What's more, the book contains many pictures and personal anecdotes about Vancouver and places beyond. In reading the book it easy to see yourself sitting at a bar with Keithley as he tells a couple tales over a couple of beers.

If you're a punk, or even think about calling yourself a punk, then you owe it to yourself to give this book a read.

Sit down at a kitchen table with Joe Keithley. Open a few beers, and hand him one, or two... Ask him to give you a crash course on himself and his legendary punk band, D.O.A., making sure not to gloss over the interesting bits.

If you can't arrange to do this with Joe, picking up a copy of this book would be your only alternative. It's 200+ pages of compelling reading, written by a man who helped define punk music both in and out of Canada, and who certainly put Canada at the roots of the punk historical tree.

Unlike a lot of books about punk bands, this is first-person stuff of the first order.

I will start by claiming 100% bias as I've known the author for well over 20 years and have greatly enjoyed his contributions to punk rock for over 25 years. DOA taught a lot of us how to go out and get it done, with "it" being spreading the music and message to the less than masses spread out among the world. Joe's book is simple, straightforward blast of history that will interest anyone into the punk rock way of existence. Essential reading, so get it and enjoy!

I don't own this book, but I wish I did. The movie is wonderful, and the soundtrack has a number of great songs that I really like. According to Amazon's product description of this book, it includes vocal, piano, and guitar sheet music for 11 of the 13 songs on the Ice Princess soundtrack. If you like any (or all) of the songs on the Ice Princess soundtrack and play piano (like me) or guitar, I think you'd really like this book. I expect it to be wonderful, and I really hope it lives up to that expectation if I (or you) ever get this book.

(The 13 songs on the Ice Princess soundtrack are "No One" - Aly & AJ; "Reach" - Caleigh Peters; "Reachin' For Heaven" - Diane DeGarmo; "If I Had it My Way" - Emma Roberts; "I Fly" - Hayden Panettiere; "Get Your Shine On" - Jesse McCartney; "Just a Dream" - Jump5; "It's Oh So Quiet" - Lucy Woodward; "You Set Me Free" - Michelle Branch; "Unwritten" - Natasha Bedingfield; "Bump" - Raven-Symone; "Get Up" - Superchic; and "There is No Alternative" - Tina Sugandh. Samples of these songs can be heard on Amazon's Ice Princess soundtrack page or iTunes.)

I never read it before but i saw this movie. I like it much more so i want to find it to read but i think there is something mistake about its ISBN. I tried to key ISBN for checking but it cann't check. Can you send the correct ISBN to me. Thanks for your help.

This book rocks so much it makes me feel like a star.

This book is about a geeky girl who decides to do her science project about ice skating. To juice it up she does it herself. She doesn't know how to ice skate.She takes lessons for about a year.Before you know it,she becomes a perfessional ice skater!

Love this cd and wonderful with Celine Dion. I like all the different languages and "Si Tu Me Amas, and Dour Que Tu M'aimes Encore (and all the others too.) Tell me, re: Ancora...my daughter (who speaks French and Spanish fluently) and I are guessing that ancora means, again, encore, repeat....are we right?
My best to the four true divos! Stephanie, Newport Beach, CA. USA

From the information provided on the Amazon web page I knew that this was a paperback book...contents unknown. It should be labelled as "music sheets for piano, vocal and guitar". I could not get further information from Amazon about the contents, so bought the book thinking it might be a discography or highlights of a recent tour. I cannot comment about the usefulness of the songbook as I am not musically inclined.

i was very pleased with the item. It is worth it to buy as it has all the music sheet for the album ancora of Il Divo and the arrangements are true to the original

If you love Il Divo, you HAVE to have this book! Ancora is written for Piano/Vocal/Guitar and has the vocal harmonies written out. It is a great find! The group takes popular songs and sings them in a classical style. It's something fun and different! I love it!

First off, Joe Diorio is a major, major talent and this book, like all his others, has loads to transmit. I was at a place in my playing where I knew I needed a new approach to soloing; I intuitively felt it'd be a help to start thinking more "intervallically," so when I found this book I thought Perfect! It definitely opened new approaches for me and certainly broadened my understanding of what it means to think in intervals rather than scales, scales, scales. I do think, though, that the sound of these lines aren't at all "ultramodern"; many of them, if used in a jamming situation actually come across sounding like exercises. The idea with this book is to absorb the core concepts and then apply the approach to what you're already using in your soloing. It broadens horizons, but shouldn't be looked upon as a book of soloing ideas as such.

The thing about this book that got to me is there's no stinkin metronome, and no stinkin chords, just 99 or so awesome licks. If you've ever wondered how guys like Eric Johnson got as good as they did, you don't have to look too much further than this book. If you can get these lines into your hands, you will improve your lead playing ability regardless of musical bent. It's a visceral book from a guy who's grown beyond convention. Suggested harmonies for the designs are given but the lines are powerful unto themselves. At the end Joe does two takes on a free form blues improvisation in B flat. This dude can play !

This book tries to break the average guitar player out of just playing scales and more towards playing intervals. It shows you how to take something like a minor pentatonic and play it intervallically, which really helps open up your ears to ideas you would never get from just practicing scales up and down. Very good to widen your vocabulary of lines. A++.

This one of the most unique guitar books EVER ...
Whatever style you play this book will teach you something ! it starts with very simple pentatonic intervalic designs and then gradually stretches to the outer limits ! it has a cool section which explains (via examples) how outside sounds are obtained over common chords, rather that just play the licks you'll finally understand how the "outside" sound is produced, with this book you'll also see where frank gambale, scott henderson, jennifer batten and even paul gilbert got a lot of their stuff :) I don't even play jazz but this book has REALLY helped me in many ways, Joe Diorio is a master player and the lines here will also help your technique, they're HARD !

I began learning to play guitar almost exactly two years ago with this book. Since that time, I have gone through all six books in this series, Introduction to Guitar 1 and 2, Intermediate Guitar 1 and 2, and Advanced Guitar 1 and 2. The genre of music that I concentrate on is Hot Blues but these books teach theory, practical application and technique that are applicable to any style with either electric or acoustic. Before I started, I had no idea how the world's great guitarists performed their improvisational solos. Now I am able to improvise solos myself and have learned how to integrate them into the structure of the song. This is only one example of many things I have learned to do with the help of these books. The format is easy to understand and laid out in a logical manner and should be easily understood by children as well. The spiral binding is good since the books can be laid flat for viewing while playing. I can't really think of anything negative to say. I highly recommend the Davison series. In fact, If you are serious, I think they are mandatory for learning to play.

My son has bought the first three books in this series during the past nine months, and he's made amazing progress. The books emphasize improvisational techniques, and are ideal for students who are really serious about learning how to play the guitar. Highly recommended.

Very well written and informative. I'm a guitar instructor myself and I teach from these books.

Very well written and informative. I'm a guitar instructor myself and I teach from these books.

This is one of the best chronicles of that 60s social phenomenon known as the Counterculture ever, and there are many. I'm so very glad that it is still available after all these years, and you can't beat the price. Amazing, considering what you are getting. If you have an interest in that period, by all means order this book! It's sure to delight. I got mine (several, in fact) back sometime soon after '87 as a cut out for about $1.99 or so. There were a lot of them then. The cover price was $9.95, so it was a deal. I guess they didn't sell so well, maybe.

It's a fine book, for those who wish to study and/or relive that time, and for collectors alike, and contains plenty of photos. It even has two sections in glorious color. I don't know if it was ever released in large, coffee table size, but it should have been.

But what I really want to know is---what happened to the companion VIDEO? It seemed to have been a one-time thing. About 1 hour 40 minutes in length, it was shown on PBS in 1987 and, to my knowledge never again on any other station, nor was it ever (again, so far as I know) offered commercially. Those who were lucky enough to know copied the broadcast on their primitive (probably monaural) video cassette recorders. Otherwise, it seems to have been lost to time.

This video by the same name as the book so much should be reissued and made available to the public. It contains many by now classic interviews with the movers and shakers, such as: George, Paul, Ringo & John, Timothy Leary, Allen Ginsburg, Abbie Hoffman, etc.,---plus vintage be-in, rally and concert footage, more interviews, philosophizing, a fantastic animation and 3D zoom of the iconic images of the Sgt. Pepper album cover, not to mention song by song analysis of the lp, etc. It swirls with color and presents an intellectual side of the 60s counterculture not often covered. We've had The Beatles Anthology, and it was great. Why not this?

I bought this book in '87 when I was 20 years old living in L.A. What a great introduction to the Beatles and the impact of Sgt. Pepper's. The book mostly quoted other people; big names and people who where involved in the making of Sgt. Pepper's and other cultural wittness. D. Taylor never got bogged down in the quotes. Instead, you get quick little excerpts of people's thoughts. You can easily open to any page and read incredible happenings/thoughts - that was how I read the book the first time. As the years went by, I read it cover to cover. Every page is LOADED with pictures. If you got a teenagers or young adult who is getting into Sgt. Pepper's, I highly suggest this book. This will be required reading in my house as my children come of age.

...
Sure ya do.

Yer a kid, and you're surfing the net
and I've seen you, outside,
in your bell bottom pants.

Bell bottoms. Oh god. *grin*

But fashion isn't the point here; nor the drug culture,
nor the music, nor the being-in, nor the Be-ins. There were
truths being explored and exposed about this world
we lived in then--truths you have profited from--oh yes, you have.

And Derek Taylor let me in on a few. And he does it wonderfully,
as only a real insider can. With respect and concern and some
sadness, for a time that passed away too fast.

I grew up in that era--okay, I didn't; I was just a tad too young,
just a tad too scared, just a tad too unable to completely grasp
what was happening in places I never really knew the geography of--inner, or otherwise.

Though, to a degree, being eleven made it easier for me
to grasp some of the new ways--whether I realized it or
not. Being young is like that, lemma tell you

or you can tell me. *grin*

No past to climb on. Searching for clues. Listening to rock stars. Following your muse.

But the inner geography still exists--whether it died a slow,
external, corporate death, or not. And Derek was there. Just
like he was there, in the car with the Beatles being crushed
with the mobs of Beatlemania, in 1964.

He was there and it scared the hell of out him too. But in a
way, that it's okay to be scared; in a way, that makes you sit
up and think. And he did some and he did some drugs and he'll
tell you about it, so that you understand why, and he cleared
his mind and so did a lot of people..

during that view.

That view? The Summer of 1967. Or thereabouts.

This book is filled with quotes and facts and people and music
and people and ideologies and people and no one has a
franchise on what the 60's was selling. You dig?

So take a look and be amazed and learn where you're headed.

Cos this is where you came from.

Try this book. It's good.

I thank you.

There are countless books about the 60s, but only a few which really capture the feeling of limitless possibilities & potential as we experienced it then. This is one of those books, written by someone who was there on the inside, participating & observing in delight & wonder ... & perhaps a litle bit of bemused trepidation, too. For younger generations, the 60s are often just a flashy mass of superficial cliches, co-opted by commercial culture & stripped of any deeper meaning. Derek Taylor reminds us that it was a period of yearning, of searching, of exploration ... and yes, sometimes youthful folly. But that was part of the journey, for as William Blake told us nearly two centuries before, "If the fool would persist in his folly, he would become wise."

What's especially enjoyable about this book is that it covers a lot of ground that gets overlooked by the usual 30-second clips & sound bites of this era. The London poetry scene, the synergy in the arts -- it's all here, with tidbits of unexpected information. For example, the Beatles mulling the possibility of starring in a film adaptation of "The Lord of the Rings," with Paul as Frodo, Ringo as Sam, George as Gandalf, and John as Gollum? Could there have been better casting? :)

Such was the colorful, absurdly wonderful reality of that brief moment in time, when it truly seemed possible to tear down the "dark, Satanic mills" & build a better world. It must seem utterly unreal & impossible to a younger generation, but yes, the everyday world wasn't always such a dark, cynical, despairing place ... and maybe it offers hope that we can outlive these current bleak times & eventually build something better one day.

Definitely recommended!

Oscar's "autobiography" is delightful reading! It's written in a very conversational style. It covers various aspects of his youth, family, teachers and training, career, musical influences, and his fellow musicians. I have also read "The Will To Swing" by Gene Lees. Oscar's book is a great compliment to that book. It's nicer, in a way, since it's written by Oscar. The reader feels that we're meeting Oscar Peterson in person. In order to know Oscar beyond this, listen to the music. That was his life, after all!

A wonderful book! about a life well lived and enjoyed, and thankfully Mr. P is still on the planet. I must take issue with the Publishers Weekly review; it does not follow a predictable format, and why would it? Anyone who has heard this musical giant in live performance or on recordings realizes that the superlative, wonderful music that pours from his soul and through his fingers is truly a Jazz Odyssey. OP may have some idea of where he wants it to go, but in the end his musical journey of surprise and discovery is ours too. This is a book to read and re-read - just like his recordings, you will discover something new that you missed the last time around. Kudos!

Aside from having one of the most beautiful cover jackets I've seen on a book in a long time, this is an engaging, lovely book to read. I have to take issue with the reviewer from Publishers Weekly above - once you know that Oscar has suffered a stroke, I don't think it's fair to expect a perfectly written or perfectly structured book. What we get, instead, is a collection of reminiscences - nearly all of which shine with Oscar's warmth and intelligence and extraordinary feel for his subject: the life of a jazz man. Here's a good example, where he discovers a new piano, as a child:

'Early on I imagined that all the pianos I would play would be uprights. Not so! One day I was sent to the auditorium of my High School on an errand, and there stood a beautiful baby grand piano. I couldn't resist it: the errand vanished from my mind as I sat down to play this exquisite discovery. It was fantastic! The sound from its horizontal strings was a revelation after the vertical, harp-like strings I was used to: it seemed to reach inside me and grab at the pit of my stomach. The bell-like treble end particularly intrigued me, as I tried out numerous harmonic clusters in my left hand against moving phrases in the upper register, and I came away determined that one day one of these musical marvels would be mine. My own grand piano.' (page 297)

I can truly recommend this book if you're a fan of jazz piano. According to the book, there is a CD available of some of Oscar's best work to tie in with this, but I have not seen it anywhere yet.

Almost 25 years ago when Oscar Peterson last performed here in Winnipeg, my wife and I enjoyed prime seats at our concert hall for what would be the most remarkable musical performance by ANYONE, that either of us has ever had the pleasure to witness.

It was Oscar Peterson at the peak of his powers, `alone together' with Joe Pass (the guitar genius, who was born Joseph Anthony Passalaqua in New Jersey, and who died in L.A. 13 years ago). I remember we could see a heavy gold bracelet, glinting in the spotlight, dancing on Oscar's right wrist as he made music at the speed of light!

In the years since, whenever we'd see that glint of gold on Oscar's wrist -- during rare television appearances - we'd say to ourselves, What's the story on that bracelet?

Tonight I picked up a copy of this "Jazz Odyssey" autobiography, and went straight for the index, looking up "Sinatra, Frank" (my favorite male singer - Oscar's too) and . . . sure enough, there was the answer to my question! (on page 206).

"At the end of the final (recording) session with Fred Astaire, Fred presented each member of the group with a beautiful gold identification bracelet -- which he had autographed.

"I have worn mine ever since; years later, when I met Fred Astaire at a party Frank Sinatra was giving for me, he told me he'd seen me on television a few nights before and had been `thrilled' to see I was wearing his bracelet!

-----

Oscar's "report" on those marvelous recordings with Astaire - his acute observations of little things he noticed and vividly recalls fifty years later -- is what makes this musical autobiography truly unique. How many musicians have we heard interviewed, who think and express themselves at the following level?

"As I waited for Fred (to arrive) I started toying with a few phrases I thought unusual in the songs likely to be used - Top Hat, for example (and) As I sat there engrossed, I became aware of a presence nearby, and looked up into the smiling face of Astaire himself. He wore a tweed sports jacket a soft pair of brown slacks (engagingly held up by a man's tie) and a hat set at an almost rakish angle.

"He was at once immensely likeable, and awe-inspiring: sensing my diffidence, he said kindly, `Sounds awfully good to me, Oscar!'"

"After the initial rehearsal went very well - although Fred voiced some doubts about his competence as a vocalist - he was very clear on the feel and treatment he wanted on most of the songs; on others he was less sure, and wondered aloud, `I've never understood why he wrote that kind of lyric for this particular tune," or "I've never felt comfortable with this passage.

"It would be idle to pretend that the sessions passed without a hitch. For all his rhythmic feel, Fred was not naturally attuned to jazz phrasing, and it was at times perilously easy to throw him, via the wrong intro or a misplaced fill.

"We learned to gauge our ad lib lines around and behind him very carefully, giving him enough time to hear his place of re-entry coming up. We also stuck firmly to the normal harmonic clusters, as any kind of `modern' dissonance could faze him, or make him worried about his own intonation.

"I found it fascinating to discover how different were Fred's senses of time as a vocalist and as dancer: Dancing, his time was so strict that he could make an accompaniment sound early or late; his vocal time however, was VERY loose, uninhibited, and unmeasured.

"I found the best way to accompany Fred was to give him a long harmonic chord cushion and let him take his natural liberties with metronomic time.

"It was also riveting to watch Fred on some of the slow ballads. His normal posture was to hold one hand cupped over his ear as he sang, but on some tunes he would lower the hand and instinctively fall into a semi-swirl, so familiar from his gliding ballroom performances.

"And we were all touched by his nervous, boyish anxiety: he'd rush to the piano after every take asking, `How was that?' or `Did I stay in tune?'

"One or two surprises remained. We found out that he LOVED playing drums (he had a full set in his living room) and we cajoled him into sitting-in during a rehearsal! It was a riot! To hear his time, in conjunction with Ray Brown's vast sound was quite an event - and the look of rapt attention on his face was a joy to behold!

-----

In a sort of `afterward' titled "THE WILL TO PERFECTION," Oscar writes,

"Creating an uninhibited, off-the-cuff musical composition in front of a large audience is a dare-devil enterprise, one that draws on everything about you, not just your musical talent. It requires you to collect all your senses, emotions, physical strength, and mental power and focus them totally onto the performance - utter dedication every time you play."

The pay-off, Oscar says, is "scary (but) also uniquely exciting. Once it's bitten you, you never get rid of it. Nor do you want to: for you come to believe that if you get it ALL right, you will be capable of virtually anything. That is what drives me, and I know it will always do so."

Sherry Shahan's 'The Jazzy Alphabet' is the hippest A-B-C ever to hit the streets. This alphabet is really cookin' hot or cool. It's the only boogie-boppin', singin' and rompin' family of letters around. The text is rhythmic and with it in the blues jargon. Parents you may have to tell your little ones what some of those jazzy words are, like: cuttin' the rug, jazzy jingle, juba and jive and mad-dog tooter. Each page has items that the children can identify by the matching letter. The muscially-inclined orchestra will get your toes tapping in no time.

Here's a sample:

Abazaba alley cat
and boogie-woogie bebop a boogaloo.
Bim-bam blues!

Cool cats cuttin' the rug with
a clip-clop clappin' happenin'.
D's on the drums,
down and dirty.
"Dig it! Dig it!"

This may sound racy to some for a little child. Someone has to explain to me what down and dirty means? Just to give some parents a clear judgement of the lingo in the book. Other than that it's a cool book. A nice collection for folks like me who loves musically-inclined alphabet books. The illustrations done by Mary Thelen are lively and whimiscal collages made with silk-screen Color-Aid papers and gouache-painted textures. The illustrations react with the music text as they dance across the page with that little Razzmatazz! It's the cat's MEOW!

"Abazaba alley cat A, Bebop a boogaloo, bim bam blues..." I wrote that last line from memory, so excuse any mispellings. My son loves this book so much I can do the whole thing from beginning to end in my sleep... the pictures are wonderful, bright and full of detail. Lots of animals to name, objects that begin with the appropriate letter are incorporated into each page, and the people depicted are multicultural. The text is alliterative and rhythmic (NOT rhyming,as one of the print reviews says), and really captures the movement of jazz.

The recommended age is 5-9, but my son has been in love with this book since he was 12 months old. He's 15 months now, and still demands it upwards of 10 times a day. He loves to find the kitty cat and the little boy that are found on every page of the book (except one) and will clap his hands with the rythym.
I just pray our copy will last for more than a year... this book is really getting a workout in our house.

Read it in your best "blues man" voice, and you've got a winner for any preschooler! Va-va-varoom!

"Abazaba alley cat A, Bebop a boogaloo, bim bam blues..." I wrote that last line from memory, so excuse any mispellings. My son loves this book so much I can do the whole thing from beginning to end in my sleep... the pictures are wonderful, bright and full of detail. Lots of animals to name, objects that begin with the appropriate letter are incorporated into each page, and the people depicted are multicultural. The text is alliterative and rhythmic (NOT rhyming,as one of the print reviews says), and really captures the movement of jazz.

The recommended age is 5-9, but my son has been in love with this book since he was 12 months old. He's 15 months now, and still demands it upwards of 10 times a day. He loves to find the kitty cat and the little boy that are found on every page of the book (except one) and will clap his hands with the rythym.
I just pray our copy will last for more than a year... this book is really getting a workout in our house.

Read it in your best "blues man" voice, and you've got a winner for any preschooler! Va-va-varoom!

Sherry Shahan swings through the alphabet, jazz style, and every toe will be tapping on this raucus, fun-filled journey from A to Z. Listen to the boogie-woogie, bim-bam blues. Watch the cool cats cuttin' the rug, and fat cats shuffle to a fine funky beat. Hear that jazzy jam session, or the organ all oozy and bluesy. The piano pitter-patters, plink, the saxophone is swinging, so shimmy and shake, and the woodwinds wibble-wabble woo woo wee. So zip up that zoot suit and get ready to jive..... Ms Shahans clever text is lively and captivating, and filled with energy, rhythm, alliteration, and motion that's contagious. Little ones will be on their feet and moving to the beat. Mary Thelen's bold, bright, and busy illustrations dazzle with vibrant colors and intensity, and youngsters will never tire of exploring each intriguing page. The Jazzy Alphabet is an engaging manic romp, best read aloud and shared, and a definite preschool crowd pleaser. "The jazzy alphabet boogies and sings, hot jazz, cool jazz, pizzazzy street-jammin' jazz. Razzmatazz! It is the cat's pajamas. MEOW!

Lets not beat around the bush's, this book is tough. This is like looking into Jimi's bag of tricks and you will be tested!!! All in all the one books that blues guitarist who love Jimi have to spend some time with, ok a lot of time with but.....you will get something out of it.

In my opinion, the best collection of Jimi's songs. This tablature is top notch, and should take you a while to get through even one song. :)

Jimi Hendrix's guitar style is established based on a dozen of preceding blues masters such as Muddy Waters. "Blues" shows Jimi's rendition of the blues standards performed by the masters. Learning this transcription carefully is the shortest way to master the techniques and licks used by the blues masters. "Radio One" and "Woodstock" transcriptions are also essential for blues guitar students.

This is Jimi's quintessential blues album, with covers of great standards and true-to-form originals. His rendition of 'Born Under a Bad Sign' is quite satisfying, with its string scratching, chordal rolls, and tasty wah-wah treatment.

Then there's the climactic highlight of 'Here My Train A Comin' (electric)' from his 5/70 Berkley concert - a performance thought by many, to be Jimi's most comprehensive expoundment upon the genre; and I would concur.

'Red House' is a great jam and not too difficult to get under the fingers. The key to learning other player's stuff, is to listen very closely to identify the elements and structure, then seek to apply them to your own voice.

This book would be a good place for even a beginner to learn the blues. Because after all, the blues isn't complicated. And Jimi's masterful expression of it didn't come from a place of technical prowess, but rather from a place of deep-rooted and heart-felt meaning.

I purchased this for one of my piano students. He plays one or 2 a week for his lessons because he loves them so much.

this product is a great convenience. It compiles all of Joplins rags in an easy-to-read format with authentic tips for playing each individual piece. It is definitely worth every penny; it's a great addition to any collection. Another interesting thing that this edition includes is the date that the piece was composed. If you want to find some awesome, fun music to play, you can never go wrong with Joplin.

These are the real McCoy, right down to Joplin's own tempo recommendations (the famous "Not too fast" adornes the Peacherine Rag, as in the original). If you want to tackle the master's own works, this is the place to go. Schirmer does a fine job in cataloging these masterpieces, and these are re-engravings of the original scores--crisp, clear and easy to read. This book also contains Joplin's syncopation exercises, helpful in understanding his work.

This is the greatest book I've ever seen on Joplin pieces. These are not for beginners!